Abstract

ExcerptThe title of Carl Schmitt's Hamlet or Hecuba: The Intrusion of the Time into the Play enacts a complex collision between politics and aesthetics.1 The titular colon divides two oppositions from each other, thus producing a couple of couples. If the “either/or” of Hamlet or Hecuba mandates an absolute decision between opposed terms, a frame familiar to us from this theorist of the sovereign decision and the friend/enemy distinction, the logic of the “both/and” within The Intrusion of the Time into the Play insists upon the messy fact of lived historical interpenetration between the seemingly disjunctive spheres of politics and…